CLASSICAL SEASON WEEK 13 — MARCH 10 –12
Sibelius’s Fifth Symphony
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Music in
Troubling Times
O N D E C E M B E R 7, 1 9 3 9, violin virtuoso Jascha Heifetz joined The Cleve-
land Orchestra and music director at the time Artur Rodziński (1933–43) on the Severance stage to premiere William Walton’s new violin concerto. Walton, however, was unable to make it. He was in the English countryside, driving an ambulance. Britain had declared war on Germany that September, spoiling Walton’s chances to attend the performance. He wrote to Heifetz: “I don’t know when I will hear the concerto — perhaps never. I have been hoping that the performance will be broadcast. If it is, can you make a recording of it and send it to me?” All three pieces on this weekend’s program, led by Music Director Franz Welser-Möst, point to a world on the brink. Both Walton and Jean Sibelius, who wrestled with his Fifth Symphony during World War I, struggled to create lasting art when the future of the world was at stake. The Exterminating Angel Symphony by Thomas Adès, which receives its U.S. premiere performances on Thursday and Saturday, is based on Luis Buñuel’s 1962 film, a thinly veiled criticism of the brutal Franco regime in Spain. The chaos of twentieth-century wars evoked in these musical works is sadly all too relevant as we prepare to perform this weekend’s concerts. While words fail to describe the senseless tragedy that has been unfolding in Ukraine over the last two weeks, we wish to dedicate this weekend’s concerts to all Ukrainians: those fighting for their homeland; those suddenly displaced; and those who are our neighbors, friends, and colleagues, concerned for their loved ones.
André Gremillet is President & CEO of The Cleveland Orchestra.
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From the President & CEO
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“We make a living by what we get, but we make a life by what we give.” —Winston Churchill When you create your legacy with The Cleveland Orchestra, you make world-class music a way of life in Northeast Ohio for generations to come. Learn how you can use your assets to plan a thoughtful gift, and make a lasting connection to the music you love. Katie Shames, JD 216-231-8006 legacy@clevelandorchestra.com
Jack, Joseph and Morton Mandel Concert Hall
Thursday evening, March 10, 2022, at 7:30 p.m. Friday morning, March 11,, 2022, at 11:00 a.m.* Saturday evening, March 12, 2022, at 8:00 p.m.
Franz Welser-Möst, conductor thomas adès
(b. 1971)
The Exterminating Angel Symphony* U.S. PREMIERE Co-commissioned by The Cleveland Orchestr Orchestra, City of Birmingham Symphony Orchestr Orchestra, Helsinki Philharmonic Orchestra, rrchestra, Carnegie Hall, Orquesta Nacional de España, Symphonieorchester des Bayerischen Rundfunks, Radio France, and Luzerner Sinfonieorchester.
william walton
(1902–1983)
Violin Concerto 1. Andante tranquillo 2. Presto capriccioso alla napolitana 3. Vivace PETER OTTO, violin
INT ER MISSION jean sibelius (1865–1957)
Symphony No. 5 in E-flat major, Opus 82 1. Tempo molto moderato — Allergro moderato — Presto 2. Andante mosso, quasi allegretto 3. Allegro molto — Misterioso — Un pochettino largamente
This weekend’s concerts are dedicated to the people of Ukraine and Northeast Ohio’s Ukrainian community. This program is approximately 1 hour 45 minutes. Peter Otto’s performance is generously sponsored by The Jean, Harry, and Brenda Fuchs Family Foundation. * Friday’s performance does not include The Exterminating Angel Symphony and is performed with no intermission.
2021-2022 Season Sponsor: The J.M. Smucker Co. cleveland orchestra radio broadcasts
Saturday evening’s performance will be broadcast live as part of weekly programming on ideastream/WCLV Classical 104.9 FM. Recent and past performances air Saturday evenings at 8:00 p.m. and Sunday afternoons at 4:00 p.m.
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Program: Week 13
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Season Two Available Now!
MORE THAN A CONCERT
The Cleveland Orchestra’s digital concert series, In Focus, returns this winter with six brand-new episodes. Available exclusively on Adella Premium (adella.live or the Adella app), each episode includes behind-the-scenes interviews, as well as features on the music and music making.
Intensity and Dvořák’s Symphony No. 8. Season 2 of In Focus also features classical music stars John Adams, Herbert Blomstedt, Imogen Cooper, Jeremy Denk, Jane Glover, Igor Levit, and Latonia Moore, among others.
Now streaming, Episode 2, Begin Again, captures Franz Welser-Möst leading the highly anticipated world premiere of Bernd Richard Deutsch’s
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In Focus is made possible by a generous grant from the Jack, Joseph and Morton Mandel Foundation. SEASON PRESENTING SPONSOR: The J.M. Smucker Co. PRESENTING SPONSOR: Hyster-Yale Materials Handling, Inc. DIGITAL & SEASON SPONSORS: Ohio CAT, Jones Day Foundation, and Medical Mutual DIGITAL SPONSORS: Dr. M. Lee Pearce Foundation and Mr. Yuval Brisker
The Exterminating Angel Symphony Composed: 2020
by
P H OTO BY MA R CO B O R G G R E V E
At a Glance Based on Thomas Adès’s titular opera, The Exterminating Angel Symphony was commissioned by City of Birmingham Symphony Orchestra as part of its Centenary Commissions; together with The Cleveland Orchestra and Music Director Franz Welser-Möst; Helsinki Philharmonic Orchestra; Carnegie Hall; Orquesta Nacional de España; Symphonieorchester des Bayerischen Rundfunks; Radio France; and Luzerner Sinfonieorchester. The symphony runs about 20 minutes in performance. Adès scored it for 3 flutes (third doubling piccolo), 3 oboes (third doubling english horn), 3 clarinets (second doubling E-flat clarinet and third doubling bass clarinet), 3 bassoons
(third doubling contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani (doubling rototoms), percussion (glock (glockenspiel, vibraphone, bass bell side drum, hi-hat, wood block, tambourine, anvil, whip, antique cymbals, crotales, side drum, suspended and clash cymbals, triangle, castanets, cowbell, mark tree, tam-tam, bass drum, bass drum with mounted clash cymbals), harp, piano, and strings. The symphony was premiered by the City of Birmingham Symphony Or Orchestra with Mirga Gražinytė-Tyla conducting. This weekend’s performances, led by Welser-Möst, mark the United States premiere of The Exterminating Angel Symphony.
Thomas
ADÈS
born March 1, 1971 London
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About the Music
S I N C E H E B U R S T upon Britain’s music scene in the early 1990s,
Thomas Adès (pronounced Ah-dess) has become a leading figure internationally as a composer, conductor, and pianist. His Five Eliot Landscapes and Chamber Symphony, both written in 1990, before Adès was twenty, made him a phenomenon. Less than a decade later, Asyla (1997), commissioned by Simon Rattle and the City of Birmingham Symphony Orchestra, confirmed his status among today’s most esteemed compositional voices, winning the prestigious Grawemeyer Award. The dramatic character of Adès’s work has proven wellsuited to the opera stage, for which he’s written three full-length works. The first, Powder Her Face, caused a sensation with its racy account of the life of scandalous Margaret Campbell, Duchess of Argyll, nicknamed the “Dirty Dutchess.” The Cleveland Orchestra performed the U.S. premiere of an orchestral suite based on its music in 2008. His second opera, The Tempest Tempest, based on Shakespeare’s play, premiered at London’s Royal Opera House (Covent Garden) and was presented by leading opera companies. Composed in 2020, this symphony is an orchestral rendering of music from Thomas Adès’s third opera, The Exterminating About the Music
The Cleveland Orchestra
Angel based on Luis Buñuel’s classic surrealist movie from 1962, Angel, in which a collection of society characters find themselves inexplicably trapped together at a post-opera party. The opera premiered at the 2016 Salzburg Festival, and has since traveled to the Royal Opera House, Covent Garden; New York’s Metropolitan Opera; and the Royal Danish Opera, Copenhagen. In the symphony’s opening movement, Entrances, the guests arrive for dinner; in an early sign that they are leaving “reality” behind, they arrive twice. Then comes the ferocious and obsessive March that bridges the opera’s first two acts, the music for their first night under the spell of the Exterminating Angel. The third movement is a Berceuse, or lullaby, which draws on some of the work’s most exquisite and memorable music — of the yearning, melancholy duets between the doomed lovers Beatriz and Eduardo, who sing, “Fold your body into mine / Hide yourself within its hand.” Adès describes composing Waltzes — the symphony’s final and most extensive movement — as “joining together the bits of a broken porcelain object.” Unlike the other movements, which draw on fairly complete passages from the opera, here the waltz fragments that surface throughout the score are brought together to create something wholly original. “What interests me about the waltz is the seductiveness of this music,” remarked Adès in an interview before the opera’s premiere. “I often feel that the waltzes by Johann Strauss are saying, Why don’t you stay a little longer? Don’t worry about what’s going on outside.’ So in the context of this opera the waltz becomes very dangerous, potentially fatal.” — Faber Music
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About the Music
Mexican movie poster for the 1962 film The Exterminating Angel.
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Violin Concerto in B minor Composed: 1938–39
At a Glance Virtuoso violinist Jascha Heifetz commissioned William Walton to write a concerto for him in 1936. Walton began working on it while recovering from hernia surgery in 1938. The piece was completed in June 1939, and Heifetz performed its world premiere later that year with Artur Rodiński leading The Cleveland Orchestra at Severance Hall. Two years later, Heifetz, the Orchestra, and Rodiński reunited for its New York premiere at Carnegie Hall. The concerto is about 30 minutes in length. Walton orchestrated it for
2 flutes (second doubling piccolo), 2 oboes (second doubling english horn), 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, percussion (cymbals, military drum, tambourine, xylophone), harp, and strings, plus violin soloist. Following its acclaimed premiere, Walton’s Violin Concerto has returned occasionally to Severance, though its most recent performances by the Orchestra were in November 1988 with soloist Nigel Kennedy and guest conductor Vladimir Ashkenazy.
About the Music
by
William
WALTON
born March 29, 1902 Oldham, England died March 8, 1983 Ischia, Italy
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IN 1936, JASCHA HEIFETZ met British composer William Walton at the Berkeley Hotel in London’s Mayfair district. Heifetz was looking to commission a new concerto, and 34-year-old Walton was emerging as one of England’s most promising musical minds. His Viola Concerto, premiered by Paul Hindemith in 1929, had been well-received, and the First Symphony caused a sensation at its first performances by the BBC Symphony Orchestra in 1935. The meeting proved fortuitous; over smoked salmon and tornedos, the two men agreed on a new violin concerto and a payment of 300 pounds — work on the concerto, however, didn’t proceed as rapidly. Walton began sketching the piece in early 1938 while convalescing from double hernia surgery on the Amalfi Coast. Walton’s companion, Lady Alice Wimborne, had brought him to Italy, which was a source of inspiration for the composer throughout his career. Stimulated by the dramatic seaside vistas and vibrant Neapolitan culture, Walton sketched the first two movements of the concerto; the second movement explicitly refers to this influence, titled Presto capriccioso alla napolitana (quick and capricious in the Neapolitan style). The complete work took more than a year to come together. Walton traveled to Connecticut in May 1939 to work on the concerto directly with Heifetz, and he finished it in June. By the time the world premiere was set to take place in Cleveland on DecemAbout the Music
The Cleveland Orchestra
ber 7, 1939, Britain was at war, and Walton could no longer leave England. In a letter dated October 15 of that year, Walton wrote to Heifetz: “Alas, I don’t think owing to this something war, there is the slightest likelihood of my being able to get over for it, what with the difficulties of travel & the difficulty of not only the expense, of obtaining any dollars, also I’m of military age and am liable to be called up, but when, the powers that be (there are too may of them!) will decide.” Though Walton was absent, the premiere was an unqualified success. Elmore Bacon, critic of the Cleveland News, reported: “An overflow audience was clamorous in its reception of this new addition to the violin repertoire. The demonstration was further heightened by Heifetz insisting upon the orchestra standing with him to share in the acclaim.” Back in England, Walton was not conscripted into military service. Instead, he drove ambulances — poorly, by his own accounts — and served as a music advisor for the Army Film Unit, composing scores for propaganda films. At the same time, he wrote several scores for commercial movies, most notably Laurence Olivier’s adaptation of Henry V V. Heifetz and Walton reunited in 1950 for a de2 021 - 2022 S e a son
The Cleveland Orchestra’s 1939 program for the world premiere of Walton’s Violin Concerto.
About the Music
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finitive recording of the concerto, with Walton conducting the Philharmonia Orchestra. By then, Walton was no longer the rising star of British classical music, and changing tastes had anointed Benjamin Britten, nearly 14 years his junior, the country’s next great composer. As in his Viola Concerto, Walton’s Violin Concerto uses a three-move[The] juxtaposition of the ment structure with two more moderately paced sections bookending a Italian sort of Mediterranean lively middle. The opening Andante tranquillo starts almost immediately temperament and the je ne sais with the solo violin intoning the main theme. “Tranquillo” is somewhat misquoi that Italians have channeled leading, as the mood shifts widely from dreamy melodies to brash outthrough a British person with this bursts. stiff upper lip makes for a really The second movement, essentially a scherzo, was inspired by an acinteresting combo. tual tarantula’s bite and resembles an Italian tarantella, calling for vigorous fiddling from the soloist. The cadence abruptly switches to a deliberate waltz — Peter Otto and just as suddenly launches back into the tarantella, for only a moment, though. The Trio section, marked in the score as a canzonetta (referring to a 16th-century madrigal), is lush by comparison, with rippling, impressionist colors. But the tarantella and waltz return, in order, finally dissolving into air. The final movement Vivace circles back to the themes of the first movement, but it is most remarkable for its cadenza, which the violinist performs while supported by orchestra. Here, Walton pays homage to his great countryman Edward Elgar, whose violin concerto also eschews a bravura solo turn for a more complex and textured statement. As Walton weaves together the motives that have come before, setting up for a final flourish, he secures himself in Britain’s musical lineage. — Amanda Angel
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About the Music
The Cleveland Orchestra
Symphony No. 5 in E-flat major, Opus 82 Composed 1912-15, revised 1916-19
At a Glance
by
Jean
Sibelius wrote most of his Fifth Symphony in 1915 (he had started mentioning it in his diaries as early as 1912) and conducted its first performance in Helsinki on his fiftieth birthday, December 8, 1915. He revised the piece in 1916 and again in 1919. The revised version was premiered on November 24, 1919, again with the composer conducting. The score was published in 1921. The United States premiere was given by Leopold Stokowski and the Philadelphia Orchestra on October 21, 1921.
This symphony runs about 30 minutes in performance. Sibelius scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, timpani, and strings. The Cleveland Orchestra first presented Sibelius’s Fifth Symphony in November 1929, at a pair of concerts in Masonic Auditorium, under Music Director Nikolai Sokoloff. The work has been presented regularly since that time, and was recorded in 1941 under Artur Rodziński.
SIBELIUS
born December 8, 1865 Hämeenlinna, Finland died September 20, 1957 Järvenpää, Finland
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About the Music
W E T E N D T O T H I N K O F Sibelius primarily as a symphonist,
yet he did not embark on his first symphony until he was well into his thirties. Much like Richard Strauss, who was only a year older, Sibelius had dabbled unsuccessfully in opera, but was best known for his tone poems. While Strauss was soon to move definitively toward opera, Sibelius built a solid achievement in writing his seven symphonies, the last dating from 1924. The mythical Eighth, so keenly anticipated and so lavishly discussed, never appeared, even though Sibelius lived a full thirty years after apparently retiring from composition. We could equally ponder a comparison of Sibelius with Beethoven, who also waited until he was thirty before producing the first of his immortal nine symphonies. Comparing Sibelius with Beethoven was, in fact, a recurrent element of early 20th-century music criticism. Indeed, the English critic Cecil Gray roundly declared Sibelius to be “the greatest master of the symphony since the death of Beethoven.” Every symphonist in the last two hundred years has had to run that gauntlet, but Sibelius was, in his own mind, looking less to Beethoven than to Borodin, Tchaikovsky, and Bruckner, whose works impressed him deeply. Sibelius’s First Symphony appeared in 1899 — the same year as his Finlandia and Lemminkäinen Suite — and with it came international renown. He was invited to conduct his music in Stockholm, Paris, Heidelberg, About the Music
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Portrait of Jean Sibelius (1913) by Antti Favén.
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and Berlin. In Leipzig, Sibelius acquired a publisher, and he met Dvořák in Prague. His fame and worth thus lauded abroad, he was awarded a Finnish state pension for life and was able to resign his teaching post at Helsinki University. There were to be dark times ahead, when poor health, money problems, and anxiety about his standing in contemporary music dogged him, but for the first few years of the new century, Sibelius was riding high. The Second Symphony appeared in 1902, the Third in 1907, the Fourth in 1911. In 1914, he visited the United States, where he received an honorary degree from Yale and conducted The Oceanides at the Norfolk Festival in Connecticut. He was delighted by everything and would have returned for later concerts if World War I had not intervened. During his visit to the Americas, Sibelius’s thoughts turned to his next symphony, the Fifth, and he finished it in time for his fiftieth birthday, December 8, 1915, which also marked the occasion for a celebratory concert at Helsinki University, where he conducted its first performance. The symphony gave him more trouble than usual, however, for he revised it the following year (the second version was premiered exactly one year after the first concert) — and then revised and premiered it a third time in 1919, after the war’s end and Finland’s independence from Russia. The Fifth has always been one of the most admired of all Sibelius’s symphonies, revealing his style in strong, positive colors, free of much of the mystification that clouds certain of his other works. The most important of the revisions that the symphony underwent illustrates one of the central features of Sibelius’s style. He had About the Music
The Cleveland Orchestra
always had a knack for relating different tempos to one another and for the smooth handling of the accelerations and decelerations his music naturally seems to generate. (This was to culminate in the onemovement Seventh Symphony, which incorporates music of all different tempos in a seamless exposition.) In the Fifth Symphony, Sibelius originally planned a first movement of moderate tempo, to be followed by a swift scherzo in 3/4 time. In his revisions, these two movements were merged, so that as the opening movement proceeds, we gradually become aware of a quickening of pace. Almost unnoticed, after extensive exploration of the opening material, the music takes on the animated character of a scherzo movement, fluttering away like a butterfly emerging from a chrysalis. Thus, the Fifth Symphony that we know today has three movements, not four, although the range and variety of music are wide. There are rootless murmurings in the strings, fragmented calls in the winds, seemingly random entries of the timpani, and a great solidity in the brass transformed in the finale into a glorious hymn to the Nordic gods. The central movement is a peaceful interlude, as charming as anything by Felix Mendelssohn, perhaps — although even here the music can more than once find itself hastening forward in a break out of energy before falling back to its previous state of calm. This middle movement is notable for its constant pairing of wind instruments in thirds (playing parallel lines constantly spaced a third apart on the melodic scale), a feature that recurs in the finale when the brass intone the great swinging theme that drives it forward. Thus, in the last movement, the horns and trumpets are frequently paired in thirds, yet here their melody is not genteel and stepwise; it strides across wide intervals — inviting comparison with the giants that have inhabited the great Scandinavian forests since time immemorial. — Hugh Macdonald
Sibelius, portrait by Albert Edelfeld (1904).
Hugh Macdonald is Avis H. Blewett Professor Emeritus of Music at Washington University in St. Louis. He has written books on Beethoven, Berlioz, Bizet, and Scriabin.
P R E - CO N C E R T TA L K James O’Leary of Oberlin Conservatory will present “Forward into the Past: Rethinking the Avant-Garde with Sibelius and Walton” in Reinberger Chamber Hall one hour prior to each of this weekend’s performances.
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About the Music
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About the Music
The Cleveland Orchestra
C E LE B R AT I N G 20 Y E A RS
Franz Welser-Möst
MUSI C D IR EC TO R
Kelvin Smith Family Chair
Franz Welser-Möst is among today’s most distinguished conductors. The 2021-22 season marks his twentieth year as music director of The Cleveland Orchestra, with the future of their acclaimed partnership extended to 2027, making him the longestserving musical leader in the ensemble’s history. The New York Times has declared Cleveland under WelserMöst’s direction to be “America’s most brilliant orchestra,” praising its virtuosity, elegance of sound, variety of color, and chamber-like musical cohesion. With Welser-Möst, The Cleveland Orchestra has been praised for its inventive programming, its ongoing support for new musical works, and for its innovative work in presenting semi-staged and staged operas. The Orchestra has also been hugely suc successful in building up a new and, notably, a young audience. To date, the Orchestra and Welser-Möst have been showcased around the world in nineteen international tours together. Since 2020, they launched the ensemble’s own recording label and an original digital concert series, In Focus, that can be streamed worldwide. As a guest conductor, Mr. Welser-Möst enjoys a close and productive relationship with the Vienna Philharmonic. He regularly conducts the orchestra in Vienna as well as on tour, and in January 2023, he will lead its celebrated New Year’s Concert for the third time. Highlights of recent and upcoming appearances include performances of Strauss’s Die Aegyptische Helena at Teatro alla Scala and Elektra at the Vienna State Opera, and concerts with the New York Philharmonic, Leipzig Gewandhaus Orchestra, Amsterdam’s Royal Concertgebouw Orchestra, and the Royal Stockholm Philharmonic. He is a regular guest at the Salzburg Festival, where he most recently led an acclaimed production of Elektra. From 2010 to 2014, Franz Welser-Möst served as general music director of the Vienna State Opera. Previously, Mr. Welser-Möst led the Zurich Opera across a decade, conducting more than forty new productions. During the 2020 Salzburg Festival, Mr. Welser-Möst was awarded the festival ruby pin and the Salzburg Badge of Honor. In 2019, he received the Gold Medal in the Arts by the Kennedy Center International Committee on the Arts in recognition of his impact on the international arts community. Other honors include The Cleveland Orchestra’s Distinguished Service Award, a special citation from the Cleveland Arts Prize, the Vienna Philharmonic’s “Ring of Honor” for his longstanding personal and artistic relationship with the ensemble, recognition from the Western Law Center for Disability Rights, honorary membership in the Vienna Singverein, appointment as an Academician of the European Academy of Yuste, and the Kilenyi Medal from the Bruckner Society of America. Franz Welser-Möst’s book From Silence: Finding Calm in a Dissonant World was published in Austria in July 2020 under the title Als ich die Stille fand, followed by an English version released worldwide in Summer 2021.
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Music Director
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THE ARTIST
Peter Otto
FIR S T A SSO CIAT E CO N CER T M A S T ER
Virginia M. Lindseth, PhD, Chair
Peter Otto joined The Cleveland Orchestra as first associate concertmaster in September 2007. Before joining the Orchestra, he was a member of the first violin section of the Saint Louis Symphony Orchestra, where he served as assistant concertmaster for two seasons. Mr. Otto holds a bachelor of music degree from the Hochschule für Musik und Theater in Rostock, Germany, and a master of music degree from the Juilliard School. He has studied with Christiane Hutcap, Lewis Kaplan, Vera Kramarowa, and Igor Ozim, and participated in masterclasses of Anne-Sophie Mutter, Igor Oistrakh, and Ruggiero Ricci. Mr. Otto has performed as a soloist with the Czech Philharmonic, Saint Louis Symphony, and Heidelberg Chamber Orchestra. He made his solo debut with The Cleveland Orchestra in March 2010, was soloist in Vivaldi’s The Four Seasons at the Blossom Festival in July 2010, and performed Bernstein’s Serenade with the Orchestra in December 2011. He has also performed in live radio broadcasts on Deutschlandfunk Berlin and Norddeutscher Rundfunk, and on live television in Austria and Switzerland.
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About the Artist
The Cleveland Orchestra
ABOUT
The Cleveland Orchestra Now in its second century, The Cleveland Orchestra, under the leadership of Franz Welser-Möst since 2002, remains one of the most sought-after performing ensembles in the world. Year after year the ensemble exemplifies extraordinary artistic excellence, creative programming, and community engagement. In recent years, The New York Times has called Cleveland “the best in America” for its virtuosity, elegance of sound, variety of color and chamber-like musical cohesion, “virtually flawless,” and “one of the finest ensembles in the country (if not the world).” Founded by Adella Prentiss Hughes, the Orchestra performed its inaugural concert in December 1918. By the middle of the century, decades of growth and sustained support had turned the ensemble into one of the most admired around the world. The past decade has seen an increasing number of young people attending concerts, bringing fresh attention to The Cleveland Orchestra’s legendary sound and committed programming. More recently the Orchestra launched several bold digital projects, including the streaming broadcast series In Focus, the podcast On A Personal Note, and its own recording label. The 2021-22 season marks Franz Welser-Möst’s 20th year as music direc director, a period in which The Cleveland Orchestra earned unprecedented acclaim around the world, including a series of residencies at the Musikverein in Vienna, the first of its kind by an American orchestra. The Orchestra’s 100th season in 2017-18 featured two international tours, concluding with the presentation of Welser-Möst’s Prometheus Project, featuring works by Beethoven, on three continents. Its acclaimed opera presentations, including Strauss’s Ariadne auf Naxos (2019), Debussy’s Pelléas et Mélisande (May 2017), Bartók’s Miraculous Mandarin and Bluebeard’s Castle (April 2016), and Janáček’s The Cunning Little Vixen (2014 and 2017), have showcased the ensemble’s unique artistry and collaborative work ethic. Since 1918, seven music directors — Nikolai Sokoloff, Artur Rodziński, Erich Leinsdorf, George Szell, Lorin Maazel, Christoph von Dohnányi, and Franz Welser-Möst — have guided and shaped the ensemble’s growth and sound. Through concerts at home and on tour, broadcasts, and a catalog of acclaimed recordings, The Cleveland Orchestra is heard today by a growing group of fans around the world. For more information, visit clevelandorchestra.com. Share your memories of the performance and join the conversation online . . . facebook.com/clevelandorchestra
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twitter: @CleveOrchestra
About the Orchestra
instagram: @CleveOrch
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T H E
C L E V E L A N D
FR ANZ WELSER- MÖST MUSIC DIRECTOR Kelvin Smith Family Chair
FIRST VIOLINS Peter Otto
FIRST ASSOCIATE CONCERTMASTER
Virginia M. Lindseth, PhD, Chair
Jung-Min Amy Lee
ASSOCIATE CONCERTMASTER
Gretchen D. and Ward Smith Chair
Jessica Lee
ASSISTANT CONCERTMASTER
Clara G. and George P. Bickford Chair
Stephen Tavani
ASSISTANT CONCERTMASTER
Takako Masame
Paul and Lucille Jones Chair
Wei-Fang Gu
Drs. Paul M. and Renate H. Duchesneau Chair
Kim Gomez
Elizabeth and Leslie Kondorossy Chair
Chul-In Park
Harriet T. and David L. Simon Chair
Miho Hashizume
Theodore Rautenberg Chair
Jeanne Preucil Rose
Larry J.B. and Barbara S. Robinson Chair
Alicia Koelz
Oswald and Phyllis Lerner Gilroy Chair
Yu Yuan
Patty and John Collinson Chair
Isabel Trautwein
Trevor and Jennie Jones Chair
Katherine Bormann Analisé Denise Kukelhan Gladys B. Goetz Chair
Zhan Shu
SECOND VIOLINS Stephen Rose*
CELLOS Mark Kosower *
Alfred M. and Clara T. Rankin Chair
Richard Weiss1
James and Donna Reid Chair
Charles Bernard2
Patricia M. Kozerefski and Richard J. Bogomolny Chair
Bryan Dumm
Emilio Llinás2
Eli Matthews1
Sonja Braaten Molloy Carolyn Gadiel Warner Elayna Duitman Ioana Missits Jeffrey Zehngut Vladimir Deninzon Sae Shiragami Scott Weber Kathleen Collins Beth Woodside Emma Shook
Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Chair
Yun-Ting Lee Jiah Chung Chapdelaine VIOLAS Wesley Collins*
Louis D. Beaumont Chair The GAR Foundation Chair Helen Weil Ross Chair Muriel and Noah Butkin Chair
Tanya Ell
Thomas J. and Judith Fay Gruber Chair
Ralph Curry Brian Thornton
William P. Blair III Chair
David Alan Harrell Martha Baldwin Dane Johansen Paul Kushious BASSES Maximilian Dimoff*
Clarence T. Reinberger Chair
Derek Zadinsky2 Scott Haigh1
Mary E. and F. Joseph Callahan Chair
Lynne Ramsey1
Mark Atherton Thomas Sperl Henry Peyrebrune
Stanley Konopka2 Mark Jackobs
Charles Carleton Scott Dixon Charles Paul
Chaillé H. and Richard B. Tullis Chair Charles M. and Janet G. Kimball Chair
Jean Wall Bennett Chair
Lisa Boyko
Richard and Nancy Sneed Chair
Richard Waugh Lembi Veskimets
The Morgan Sisters Chair
Eliesha Nelson Joanna Patterson Zakany William Bender Gareth Zehngut
Charles Barr Memorial Chair
HARP Trina Struble*
Alice Chalifoux Chair
This roster lists the fulltime members of The Cleveland Orchestra. The number and seating of musicians onstage varies depending on the piece being performed. Seating within string sections rotates on a periodic basis.
Listing as of February 2022.
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The Musicians
The Cleveland Orchestra
21 22 SEASON
O R C H E S T R A
FLUTES Joshua Smith*
Elizabeth M. and William C. Treuhaft Chair
Saeran St. Christopher Jessica Sindell2
Austin B. and Ellen W. Chinn Chair
Mary Kay Fink
CONTRABASSOON Jonathan Sherwin HORNS Nathaniel Silberschlag* George Szell Memorial Chair
Michael Mayhew§
Knight Foundation Chair
PICCOLO Mary Kay Fink
Jesse McCormick
OBOES Frank Rosenwein*
Hans Clebsch Richard King Alan DeMattia
Anne M. and M. Roger Clapp Chair
Edith S. Taplin Chair
Corbin Stair
Sharon and Yoash Wiener Chair
Jeffrey Rathbun
2
Everett D. and Eugenia S. McCurdy Chair
Robert Walters ENGLISH HORN Robert Walters
Samuel C. and Bernette K. Jaffe Chair
CLARINETS Afendi Yusuf*
Robert Marcellus Chair
Robert Woolfrey
Victoire G. and Alfred M. Rankin, Jr. Chair
Daniel McKelway2
Robert R. and Vilma L. Kohn Chair
Amy Zoloto
Robert B. Benyo Chair
TRUMPETS Michael Sachs*
Robert and Eunice Podis Weiskopf Chair
Jack Sutte Lyle Steelman2
James P. and Dolores D. Storer Chair
Michael Miller CORNETS Michael Sachs*
Mary Elizabeth and G. Robert Klein Chair
Michael Miller TROMBONES Shachar Israel2 Richard Stout
Alexander and Marianna C. McAfee Chair
E-FLAT CLARINET Daniel McKelway
EUPHONIUM AND BASS TRUMPET Richard Stout
BASS CLARINET Amy Zoloto
TUBA Yasuhito Sugiyama*
Stanley L. and Eloise M. Morgan Chair
Myrna and James Spira Chair
BASSOONS John Clouser *
Louise Harkness Ingalls Chair
Gareth Thomas Barrick Stees2
Sandra L. Haslinger Chair
Jonathan Sherwin
2 021 - 2022 S e a son
PERCUSSION Marc Damoulakis*
Margaret Allen Ireland Chair
Donald Miller Tom Freer Thomas Sherwood KEYBOARD INSTRUMENTS Carolyn Gadiel Warner Marjory and Marc L. Swartzbaugh Chair
LIBRARIANS Michael Ferraguto
Joe and Marlene Toot Chair
Donald Miller ENDOWED CHAIRS CURRENTLY UNOCCUPIED Sidney and Doris Dworkin Chair Blossom-Lee Chair Sunshine Chair Gilbert W. and Louise I. Humphrey Chair Rudolf Serkin Chair
* Principal § 1 2
Associate Principal First Assistant Principal Assistant Principal
CONDUCTORS Christoph von Dohnányi MUSIC DIRECTOR LAUREATE
Vinay Parameswaran ASSOCIATE CONDUCTOR
Nathalie C. Spence and Nathalie S. Boswell Chair
TIMPANI Paul Yancich*
Elizabeth Ring and William Gwinn Mather Chair
Lisa Wong
DIRECTOR OF CHORUSES
Frances P. and Chester C. Bolton Chair
Otto G. and Corinne T. Voss Chair
Tom Freer 2
Mr. and Mrs. Richard K. Smucker Chair
The Musicians
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LATE SEATING As a courtesy to the audience members and musicians in the hall, late-arriving patrons are asked to wait quietly until the first convenient break in the program, when ushers will help you to your seats. These seating breaks are at the discretion of the House Manager in consultation with the performing artists.
PHOTOGRAPHY, VIDEOGRAPHY, AND RECORDING Audio recording, photography, and videography are prohibited during performances at Severance. Photographs of the hall and selfies can be taken when the performance is not in progress. As a courtesy to others, please turn off any phone/device that makes noise or emits light. IN THE EVENT OF AN EMERGENCY Contact an usher or a member of house staff if you require medical assistance. Emergency exits are clearly marked throughout the building. Ushers and house staff will provide instructions in the event of an emergency. HEARING AIDS AND OTHER HEALTH-ASSISTIVE DEVICES For the comfort of those around you, please reduce the volume on hearing aids and other devices that may produce a noise that would detract from the program. Infrared Assistive-Listening Devices are available. Please see the House Manager or Head Usher for more details. AGE RESTRICTIONS Regardless of age, each person must have a ticket and be able to sit quietly in a seat throughout the perfor performance. Classical season subscription concerts are not recommended for children under the age of 8. However, there are several age-appropriate series designed specifically for children and youth, including Music Explorers (recommended for children 3 to 6 years old) and Family Concerts (for ages 7 and older). HEALTH AND SAFETY For details and the most up-to-date health and safety infor information, visit CLEVELANDORCHESTRA.COM/HEALTHINFO
NEW FREE MOBILE APP Get instant access to your tickets for Cleveland Orchestra concerts at Blossom Music Center and Severance by using the Ticket Wallet App. More information is at CLEVELANDORCHESTRA.COM/TICKETWALLET
22
Copyright © 2022 by The Cleveland Orchestra and Musical Arts Association Cover photo by Roger Mastroianni Amanda Angel, Managing Editor of Content aangel@clevelandorchestra.com
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Program books for Cleveland Orchestra concerts are produced by The Cleveland Orchestra and are distributed free to attending audience members. Program book advertising is sold through Live Publishing Company at 216-721-1800.
The Cleveland Orchestra is proud of its long-term partnership with Kent State University, made possible in part through generous funding from the State of Ohio. The Cleveland Orchestra is proud to have its home, Severance Music Center, located on the campus of Case Western Reserve University, with whom it has a long history of collaboration and partnership.
The Cleveland Orchestra is grateful to these organizations for their ongoing generous support of The Cleveland Orchestra: National Endowment for the Arts, the State of Ohio and Ohio Arts Council, and to the residents of Cuyahoga County through Cuyahoga Arts and Culture.
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